w PRINTMAKING FROM 1400 TO 1700 WITH A CATALOGUE OF THE PRINT COLLECTION AT THE DALLAS MUSEUM OF ART THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Sally Savage Kemble, B.A. Denton, Texas August, 1982 Kemble, Sally Savage , Printmakin from 1400 to 1700 with a Catalogue of the Print Collection at the Dallas Museum of Art. Master of Arts (Art History), August, 1982, 367 pp., 84 illustrations, bibliography, 92 titles. Because the Dallas Museum of Art has not compiled a catalogue of its graphic collection, the researcher has written a comprehensive catalogue of the museum's prints in conjunction with a history of printmaking from 1400 to 1700. The sources of data include observation of the prints plus catalogue raisonnis of major printmakers, and books and articles on printmaking. The thesis is organized as follows: a history of printmaking, which is divided into three chapters, Woodcut, Engraving, and Etching, and a catalogue which cites the pertinent data on each print. Gaps in the collection and recommendations for future acquisitions are discussed in the preface to the catalogue. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . .. .4 ." .A . .! .f . iv Chapter I I. INTRODUCTION TO THE HISTORY OF PRINTMAKING..... ... ... II. WOODCUT. 8 The Fifteenth Century. 10 The Sixteenth Century. 24 III. ENGRAVING.. .. 40 The Fifteenth Century. 40 The Sixteenth Century. 52 IV. ETCHING. 67 The Seventeenth Century. 68 PREFACT TO THE CATALOGUE. 85 ABBREVIATION KEY . 90 CATALOGUE. 91 BIBLIOGRAPHY.................... .. 360 iii LIST OF ILLUSTRATIONS Figure Page 1. Hercules Conquering Caucus by Albrecht Durer.................................. 91 2. Five Soldiers and A Turk on Horseback, 1495, of Five Lansquenets and An Oriental on Horseback by Albrecht Drer. .. ... 95 3. The Promenade by Albrecht Durer.... 98 4. Lady on Horseback and Lansguenet by Albrecht Darer.. .. .. 102 5. The Sea Monster, or Rape of Amymone by Albrecht Diirer . 105 6. Saint Sebastian at the Column by Albrecht Durer. 108 7. Saint George on Foot by Albrecht D'irer . 111 8. The Satyr's Family by Albrecht Direr . 114 9. Man of Sorrows Standing b~y the Column by Albrecht Direr. ... 117 10. Christ Being Crowned with Thorns by Albrecht Darer . 120 11. Virgin and Child with a Pear by Albrecht Dcarer.. 123 12. Saint Paul by Albrecht Direr . ."126 13. Cardinal Albrecht of Brandenberg by Albrecht Direr . 129 14. Saint Bartholomew by Lucas van Leyden. 132 iv LIST OF ILLUSTRATIONS (Continued) Figure Page 15. Agony in the Garden by Lucas van Leyden. 135 16. Christ and the Scribes of the Temple by Albrecht Altdorfer .. 138 17. Mary Searching for Jesus in the Temple by Albrecht Altdcrfer. ....-.-.. - 141 18. Saint Thomas by Hans Baldung Grien . 144 19. Job Covered with Boils by Anonymous. 147 20. Mars by Heinrich Aldegrever. .... 150 21. Alexander the Great Leading Bucephalus by Hans Sebald Beham ............... 153 22. Trajan's Justice by Hans Sebald Beham. 156 23. Peasant's Festival or The Country Wedding by Hans Sebald Beham...... ........... - 159 24. The Penitent Magdalene by after Pieter Bruegel, the Elder...... ... -.-. 162 25. Hope by after Pieter Bruegel, the Elder. * 165 26. Page from Historia de Gentibus Septentrionalilius liber XI by Anonymous . 168 27. Page 271 from Plutarch' s Lives of the Noble Grecians and Eomanes, Paulus Amemylius by Anonymous.. ...................-. - 171 28. Crucifixion by Anonymous . * 174 29. David and the Ark of the Covenant by - 177 Anonymous. ..... ... ........-- 30. The Standard Bearer by Hendrick Goltzius . 180 V LIST OF ILLUSTRATIONS (Continued) Figure Page 31. Christ Being Stoned from the Temple by Jacques Callot. 183 32. L'arbre de Saint Francois by Jacques Callot. 186 33. Title Plate by Jacques Callot. 189 34. The Recruitment of Troops by Jacques Callot. 193 35. The Battle by Jacques Callot . 197 36. The Raid by Jacques Callot . 200 37. Pillage of Farm by Jacques Callot. 203 38. Devastation of a Monastery by Jacques Callot . 206 39. Plundering of a Village by Jacques Callot. 209 40. Attack on a Coach by Jacques Callot. 212 41. Capture of Marauders by Jacques Callot . 215 42. The Strappado by Jacques Callot. 218 43. The Hanging by Jacques Callot. 221 44. The Firing Squad by Jacques Callot . 225 45. Burning at the Stake by Jacques Callot . 228 46. The Wheel by Jacques Callot. 231 47. The Hospital by Jacques Callot . 234 48. The Dying by the Roadside by Jacques Callot. 237 49. The Revenge of the Peasants by Jacques Callot . 240 50. Distribution of Rewards by Jacques Callot. 243 vi LIST OF ILLUSTRATIONS (Continued) Figure Page 51. The Sense of Sight by Abraham Bosse. 246 52. Rembrandt in a Cap Laughing: Bust by Rembrandt van Rijn . ........ - 249 53. Bearded Man in Furred Oriental Cap and Robe: The Artist's Father by Rembrandt van Rijn 252 54. Old Man with Beard, Fur Cap and Velvet Cloak by Rembrandt van Rijn. .. ... ....... 256 55. The Rat Killer or The Rat Catcher by Rembrandt van Rijn . ..... 260 56. St. Jerome Praying: Arched Print by Rembrandt van Rijn . ..... - 264 57. St. Jerome Praying: Arched Print by Rembrandt van Rijn . ... - 268 58. The Angel Appearing to the Shepherds by Rembrandt van Rijn . ... - 271 59. Christ at Emmaus: The Smaller Plate by Rembrandt van Rijn . ...... 275 60. Christ and the Woman of Samaria: Among the Ruins by Rembrandt van Rijn... 278 61. Christ Driving the Money Changers from the Temple by Rembrandt van Rijn . 281 62. The "Great Jewish Bride" or Girl with Hair Falling Down Her Shoulders by Rembrandt van Rijn . ..-.. - 285 63. The Pancake Woman by Rembrandt van Rijn. 288 64. Rembrandt and His Wife Saskia: Busts by Rembrandt van Rijn . 292 vii LIS T OF ILLUSTRATIONS (Continued) Figure Page 65. Self-Portrait with Saskia by Rembrandt van Rijn . 295 66. Self-Portrait with Saskia by Rembrandt van Rijn. 298 67. Self-Portrait with the Artist's Mother by Rembrandt van Rijn . 300 68. Three Heads of Women, One Asleep by Rembrandt van Rijn . 303 69. The Hog by Rembrandt van Rijn... 306 70. Cottage and Farm Buildings with a Man Sketching by Rembrandt van Rijn . 310 71. Cottages Beside a Canal: A View of Diemen, or Cottages Beside A Canal with Church and Sailing Boat by Rembrandt van Rijn . 313 72. David at Prayer by Rembrandt van Rijn. 317 73. The Circumcision in the Stable by Rembrandt van Rijn . 320 74. Courtyard of Arundel House Looking South by Wenceslaus Hollar.. 324 75. Courtyard of Arundel House Looking Nouth by Wenceslaus Hollar . 327 76. A Regular Order of Canon Premonstratum by Wenceslaus Hollar . 330 77. Toward Antwerp by Wenceslaus Hollar. 333 78. Marchant's Wife of Holland by Wenceslaus Hollar . 336 79. The Hunter by Wenceslaus Hollar.. 339 80. Woman in an Oval by Ferdinand Bol. 342 viii - -- LIST OF ILLUSTRATIONS (Continued) Figure Page 81. The Nativity with God the Father and the Dove of the Holy Spirit and Angelo Adoring the Christ Child by Biovanni Benedetto Castiglione. 345 82. By_ the Cottage Door, or The Spinner by Adriaen van Ostade. 348 83. The Flight into Egypt by Jan van de Velde. 352 84. River Crossing, or Le Ruisseau by Nicholaes Berchem...... .... -355 xi ,Tw , mft 'WAPO , - % t- - Tt.4101 - -,- MIMR W III , CHAPTER I INTRODUCTION TO THE HISTORY OF PRINTMAKING The evolution of printmaking is marked by a dominance of one medium over another between the years 1400 and 1700. The first printed images on paper were made with woodcut during the early fifteenth century. In the sixteenth century, the popularity of the woodcut gave way to engraving, and in the mid-seventeenth century, etching took precedence over engraving. As more and more graphic art was produced, the tastes of the public became more refined; therefore, it was necessary for printmakers to adopt new techniques in order to achieve a greater variety of line in their work. The need for speed of execution was another reason why the graphic artist turned to engraving over woodcut. A knowledge of the graphic processes---woodcut, engraving, etching, and drypoint--is basic to an under- standing of the development of printmaking. During the fifteenth century, woodcuts were made by an artist who drew his design on a flat piece of wood. With this step, the artist surrendered the execution of the print to other workers in his studio; consequently, a craftsman, or Formschneider, cut away the areas of the woodblock that 1 .. , .. : 2 were not intended for print, leaving the lines drawn by the artist in relief. The surface of the woodblock was then inked, applying ink only to the raised areas of the block. Paper was then put over the inked block and placed in a printing press, which forced the image onto the paper. Due to the ease of cutting woodblocks, this medium was preferred in the fifteenth century; but in the sixteenth century, engraving took precedence over woodcut, because it allowed the artist more direct control over the process of printmaking. Engraving also enabled the artist to create a greater variety in value patterns as well as greater precision in the execution of the overall design. The process of cutting a design in metal as in engraving is more direct. The artist actually carves the lines that he intends to print with an engraver's tool, or burin into the metal plate. The burin makes a v-shaped groove in the metal plate. The artist varies the width of the line according to the pressure that he exerts on the plate. The engraver works piecemeal; after outlining the overall composition, he must then cover the design and save the small area immediately being incised.